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Orlando Gibbons

1583 - 1625 Scripture: 2 Corinthians 4:6 Composer of "SONG 34" in The Worshipbook Orlando Gibbons (baptised 25 December 1583 – 5 June 1625) was an English composer, virginalist and organist of the late Tudor and early Jacobean periods. He was a leading composer in the England of his day. Gibbons was born in Cambridge and christened at Oxford the same year – thus appearing in Oxford church records. Between 1596 and 1598 he sang in the Choir of King's College, Cambridge, where his brother Edward Gibbons (1568–1650), eldest of the four sons of William Gibbons, was master of the choristers. The second brother Ellis Gibbons (1573–1603) was also a promising composer, but died young. Orlando entered the university in 1598 and achieved the degree of Bachelor of Music in 1606. James I appointed him a Gentleman of the Chapel Royal, where he served as an organist from at least 1615 until his death. In 1623 he became senior organist at the Chapel Royal, with Thomas Tomkins as junior organist. He also held positions as keyboard player in the privy chamber of the court of Prince Charles (later King Charles I), and organist at Westminster Abbey. He died at age 41 in Canterbury of apoplexy, and a monument to him was built in Canterbury Cathedral. A suspicion immediately arose that Gibbons had died of the plague, which was rife in England that year. Two physicians who had been present at his death were ordered to make a report, and performed an autopsy, the account of which survives in The National Archives: We whose names are here underwritten: having been called to give our counsels to Mr. Orlando Gibbons; in the time of his late and sudden sickness, which we found in the beginning lethargical, or a profound sleep; out of which, we could never recover him, neither by inward nor outward medicines, & then instantly he fell in most strong, & sharp convulsions; which did wring his mouth up to his ears, & his eyes were distorted, as though they would have been thrust out of his head & then suddenly he lost both speech, sight and hearing, & so grew apoplectical & lost the whole motion of every part of his body, & so died. Then here upon (his death being so sudden) rumours were cast out that he did die of the plague, whereupon we . . . caused his body to be searched by certain women that were sworn to deliver the truth, who did affirm that they never saw a fairer corpse. Yet notwithstanding we to give full satisfaction to all did cause the skull to be opened in our presence & we carefully viewed the body, which we found also to be very clean without any show or spot of any contagious matter. In the brain we found the whole & sole cause of his sickness namely a great admirable blackness & syderation in the outside of the brain. Within the brain (being opened) there did issue out abundance of water intermixed with blood & this we affirm to be the only cause of his sudden death. His death was a shock to peers and the suddenness of his passing drew comment more for the haste of his burial – and of its location at Canterbury rather than the body being returned to London. His wife, Elizabeth, died a little over a year later, aged in her mid-30s, leaving Orlando's eldest brother, Edward, to care for the children left orphans by this event. Of these children only the eldest son, Christopher Gibbons, went on to become a musician. One of the most versatile English composers of his time, Gibbons wrote a quantity of keyboard works, around thirty fantasias for viols, a number of madrigals (the best-known being "The Silver Swan"), and many popular verse anthems. His choral music is distinguished by his complete mastery of counterpoint, combined with his wonderful gift for melody. Perhaps his most well known verse anthem is This is the record of John, which sets an Advent text for solo countertenor or tenor, alternating with full chorus. The soloist is required to demonstrate considerable technical facility at points, and the work at once expresses the rhetorical force of the text, whilst never being demonstrative or bombastic. He also produced two major settings of Evensong, the Short Service and the Second Service. The former includes a beautifully expressive Nunc dimittis, while the latter is an extended composition, combining verse and full sections. Gibbons's full anthems include the expressive O Lord, in thy wrath, and the Ascension Day anthem O clap your hands together for eight voices. He contributed six pieces to the first printed collection of keyboard music in England, Parthenia (to which he was by far the youngest of the three contributors), published in about 1611. Gibbons's surviving keyboard output comprises some 45 pieces. The polyphonic fantasia and dance forms are the best represented genres. Gibbons's writing exhibits full mastery of three- and four-part counterpoint. Most of the fantasias are complex, multisectional pieces, treating multiple subjects imitatively. Gibbons's approach to melody in both fantasias and dances features a capability for almost limitless development of simple musical ideas, on display in works such as Pavane in D minor and Lord Salisbury's Pavan and Galliard. In the 20th century, the Canadian pianist Glenn Gould championed Gibbons's music, and named him as his favorite composer. Gould wrote of Gibbons's hymns and anthems: "ever since my teen-age years this music ... has moved me more deeply than any other sound experience I can think of." In one interview, Gould compared Gibbons to Beethoven and Webern: ...despite the requisite quota of scales and shakes in such half-hearted virtuoso vehicles as the Salisbury Galliard, one is never quite able to counter the impression of music of supreme beauty that lacks its ideal means of reproduction. Like Beethoven in his last quartets, or Webern at almost any time, Gibbons is an artist of such intractable commitment that, in the keyboard field, at least, his works work better in one's memory, or on paper, than they ever can through the intercession of a sounding-board. To this day, Gibbons's obit service is commemorated every year in King's College Chapel, Cambridge. --wikipedia.org

Jane Borthwick

1813 - 1897 Person Name: Jane Laurie Borthwick Scripture: 2 Corinthians 4:7 Author of "Come, Labor On" in Rejoice in the Lord Miss Jane Borthwick, the translator of this hymn and many others, is of Scottish family. Her sister (Mrs. Eric Findlater) and herself edited "Hymns from the Land of Luther" (1854). She also wrote "Thoughts for Thoughtful Hours (1859), and has contributed numerous poetical pieces to the "Family Treasury," under the signature "H.L.L." --Annotations of the Hymnal, Charles Hutchins, M.A. 1872. ================================= Borthwick, Jane, daughter of James Borthwick, manager of the North British Insurance Office, Edinburgh, was born April 9, 1813, at Edinburgh, where she still resides. Along with her sister Sarah (b. Nov. 26, 1823; wife of the Rev. Eric John Findlater, of Lochearnhead, Perthshire, who died May 2, 1886) she translated from the German Hymns from the Land of Luther, 1st Series, 1854; 2nd, 1855; 3rd, 1858; 4th, 1862. A complete edition was published in 1862, by W. P. Kennedy, Edinburgh, of which a reprint was issued by Nelson & Sons, 1884. These translations, which represent relatively a larger proportion of hymns for the Christian Life, and a smaller for the Christian Year than one finds in Miss Winkworth, have attained a success as translations, and an acceptance in hymnals only second to Miss Winkworth's. Since Kennedy's Hymnologia Christiana, 1863, in England, and the Andover Sabbath Hymn Book, 1858, in America, made several selections therefrom, hardly a hymnal in England or America has appeared without containing some of these translations. Miss Borthwick has kindly enabled us throughout this Dictionary to distinguish between the 61 translations by herself and the 53 by her sister. Among the most popular of Miss Borthwick's may be named "Jesus still lead on," and "How blessed from the bonds of sin;" and of Mrs. Findlater's "God calling yet!" and "Rejoice, all ye believers." Under the signature of H. L. L. Miss Borthwick has also written various prose works, and has contributed many translations and original poems to the Family Treasury, a number of which were collected and published in 1857, as Thoughts for Thoughtful Hours (3rd edition, enlarged, 1867). She also contributed several translations to Dr. Pagenstecher's Collection, 1864, five of which are included in the new edition of the Hymns from the Land of Luther, 1884, pp. 256-264. Of her original hymns the best known are “Come, labour on” and "Rest, weary soul.” In 1875 she published a selection of poems translated from Meta Heusser-Schweizer, under the title of Alpine Lyrics, which were incorporated in the 1884 edition of the Hymns from the Land of Luther. She died in 1897. [Rev. James Mearns, M.A.] -- John Julian, Dictionary of Hymnology (1907) ======================== Borthwick, Jane, p. 163, ii. Other hymns from Miss Borthwick's Thoughtful Hours, 1859, are in common use:— 1. And is the time approaching. Missions. 2. I do not doubt Thy wise and holy will. Faith. 3. Lord, Thou knowest all the weakness. Confidence. 4. Rejoice, my fellow pilgrim. The New Year. 5. Times are changing, days are flying. New Year. Nos. 2-5 as given in Kennedy, 1863, are mostly altered from the originals. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ============= Works: Hymns from the Land of Luther

T. Tertius Noble

1867 - 1953 Scripture: 2 Corinthians 4:7 Composer of "ORA LABORA" in Rejoice in the Lord Thomas Tertius Nobel (1867-1953) was born in Bath, England, educated at the Royal College of Music, and was a noted composer and organist. He served as a church organist in Cambridge and Colchester. He moved to Ely Cathedral in 1892 as organist and choirmaster, and in 1898 to York Minster, where he founded the York Symphony Orchestra, directed the York Musical Society, conducted the York Pageant, and revived the York Musical Festival after a lapse of 75 years. He became an honorary fellow of the Royal College of Organists in 1905. In 1913, he moved to New York City, where he was organist at St. Thomas’ Episcopal Church, and established its choir school and a boys’ choir. In addition to composing, he wrote about music education, and helped edit the 1916 Protestant Episcopal hymnal, and served on the music committee that prepared its 1940 successor. He wrote a wide range of music, but only his services, anthems and hymn tunes are still performed regularly. Died: May 4, 1953, Rockport, Massachusetts. http://www.hymntime.com/tch/

Stephen Langton

1160 - 1228 Person Name: Stephen Langton, d. 1228 Scripture: 2 Corinthians 4:6 Author of "Come, thou Holy Spirit, come" in Common Praise Archbishop of Canterbury, 1207-1228

Samuel Webbe

1740 - 1816 Person Name: Samuel Webbe the elder, 1740-1816 Scripture: 2 Corinthians 4:6 Composer of "VENI SANCTE SPIRITUS" in Common Praise Samuel Webbe (the elder; b. London, England, 1740; d. London, 1816) Webbe's father died soon after Samuel was born without providing financial security for the family. Thus Webbe received little education and was apprenticed to a cabinetmaker at the age of eleven. However, he was determined to study and taught himself Latin, Greek, Hebrew, French, German, and Italian while working on his apprenticeship. He also worked as a music copyist and received musical training from Carl Barbant, organist at the Bavarian Embassy. Restricted at this time in England, Roman Catholic worship was freely permitted in the foreign embassies. Because Webbe was Roman Catholic, he became organist at the Portuguese Chapel and later at the Sardinian and Spanish chapels in their respective embassies. He wrote much music for Roman Catholic services and composed hymn tunes, motets, and madrigals. Webbe is considered an outstanding composer of glees and catches, as is evident in his nine published collections of these smaller choral works. He also published A Collection of Sacred Music (c. 1790), A Collection of Masses for Small Choirs (1792), and, with his son Samuel (the younger), Antiphons in Six Books of Anthems (1818). Bert Polman

Alberto Merubia

1919 - 2013 Person Name: Alberto Merubia, b. 1919 Scripture: 2 Corinthians 4:6 Translator (Spanish) of "Father, We Thank You, Who Have Planted (Gracias, Buen padre, Que Plantaste)" in Oramos Cantando = We Pray In Song

Georg Neumark

1621 - 1681 Scripture: 2 Corinthians 4:6 Composer of "NEUMARK/WER NUR DEN LIEBEN GOTT" in Lift Up Your Hearts Georg Neumark (b. Langensalza, Thuringia, Germany, 1621; d. Weimar, Germany, 1681) lived during the time of the Thirty Years' War, when social and economic conditions were deplorable. He had personal trials as well. On his way to Königsberg to study at the university, traveling in the comparative safety of a group of merchants, he was robbed of nearly all his possessions. During the next two years he spent much of his time looking for employment. He finally secured a tutoring position in Kiel. When he had saved enough money, he returned to the University of Königsberg and studied there for five years. In Königsberg he again lost all his belongings, this time in a fire. Despite his personal suffering Neumark wrote many hymns in which he expressed his absolute trust in God. In 1651 he settled in Weimar, Thuringia, where he became court poet and archivist to Duke Johann Ernst and librarian and registrar of the city. Neumark wrote thirty-four hymns, of which "If You But Trust in God to Guide You" has become a classic. Bert Polman ============== Neumark, Georg, son of Michael Neumark, clothier at Langensalza, in Thuringia (after 1623 at Miihlhausen in Thuringia), was born at Langensalza, March 16, 1621; and educated at the Gymnasium at Schleueingen, and at the Gymnasium at Gotha. He received his certificate of dimission from the latter in Sept. 1641 (not 1640). He left Gotha in the autumn of 1641 along with a number of merchants who were going to the Michaelmas Fair at Leipzig. He then joined a similar party who were going from Leipzig to Lübeck; his intention being to proceed to Königsberg and matriculate at the University there. After passing through Magdeburg they were plundered by a band of highwaymen on the Gardelegen Heath, who robbed Neumark of all he had with him, save his prayer-book and a little money sewed up in the clothes he was wearing. He returned to Magdeburg, but could obtain no employment there, nor in Lüneburg, nor in Winsen, nor in Hamburg, to which in succession the friends he made passed him on. In the beginning of December he went to Kiel, where he found a friend in the person of Nicolaus Becker, a native of Thuringia, and then chief pastor at Kiel. Day after day passed by without an opening, till about the end of the month the tutor in the family of the Judge Stephan Henning fell into disgrace and took sudden flight from Kiel. By Becker's recommendation Neumark received the vacant position, and this sudden end of his anxieties was the occasion of the writing of his hymn as noted below. In Henning's house the time passed happily till he had saved enough to proceed to Königsberg, where he matriculated June 21, 1643, as a student of law. He remained five years, studying also poetry under Dach, and maintaining himself as a family tutor. During this time (in 1046) he again lost all his property, and this time by fire. In 1648 he left Königsberg, was for a short time at Warsaw, and spent 1649-50 at Thorn. He was then in Danzig, and in Sept. 1651 we find him in Hamburg. In the end of 1651 he returned to Thuringia, and bronght himself under the notice of Duke Wilhelm II. of Sachse-Weimar, the chief or president of the Fruit-bearing Society, the principal German literary union of the 17th century. The Duke, apparently in 1652, appointed him court poet, librarian and registrar of the administration at Weimar; and finally secretary of the Ducal Archives. In Sept. 1653 he was admitted as a member of the Fruit-bearing Society, of which he became secretary in 1656, and of which he wrote a history (Der Neu-Sprossende Teutsche Palmbaum, Nürnberg and Weimar, 1668); and, in 1679, became also a member of the Pegnitz Order. In 1681 he became blind, but was permitted to retain his emoluments till his death, at Weimar, July 18, 1681. [K. Goedeke's Grundriss, vol. iii., 1887, p. 74; Allgemeine Deutsche Biographie. xxiii. 539; Weimarisches Jahrbuch, vol. iii., 1855, p. 176, &c. The dates given by the different authorities vary exceedingly, and are quite irreconcilable. In the registers at Schleusingen Neumark is last mentioned in 1636, and then as in the Third Form. Dr. von Bamberg, director of the Gymnasium at Gotha, informs me that Neumark's name appears in the matriculation book there under January 31, 1641; and as one of the "newly entered" scholars.] A long list of Neumark's poetical works is given by Goedeke. A large proportion of his secular poems are pastorals, or else occasional poems written to order at Weimar; and in all there is little freshness, or happiness in expression, or glow of feeling. As a musician, and as a hymn-writer, he is of more importance. His hymns appeared in his (1) Poetisch-und Musikalisches Lustwäldchen, Hamburg, 1652; the enlarged edition, entitled (2) Fortgepfiantzter Musikalizch-Poetischer Lustwald, Jena, 1657; and (3) Unterschiedliche, so wol gottseliger Andacht; als auch zu christlichen Tugenden aufmuntemde Lieder, Weimar, 1675. Of the 34 hymns in these three works a few are found in the German hymn-books of the 17th century, and three or four still survive. The best of Neumark's hymns are those of Trust in God, and patient waiting for His help under trial and suffering; and one of these may be fairly called classical and imperishable. It is:— Wer nur den lieben Gott lässt walten. Trust in God. First published in his Fortgepflantzter musikalisch-poetischer Lustwald, Jena, 1657, p. 26, in 7 stanzas of 6 lines, entitled “A hymn of consolation. That God will care for and preserve His own in His own time. After the saying 'Cast thy burden upon the Lord, and He shall sustain thee'“(Ps. lv. 22). This, his finest hymn, was written in 1641, at Kiel, when after unsuccessful attempts to procure employment he became a tutor in the family of the judge Stephan Henning. Of this appointment Neumark, in his Thrünendes Haus-Kreuiz, Weimar, 1681, speaks thus:-— "Which good fortune coming suddenly, and as if fallen from heaven, greatly rejoiced me, and on that very day I composed to the honour of my beloved Lord the here and there well-known hymn 'Wer nur den lieben Gott lässt walten'; and had certainly cause enough to thank the Divine compassion for such unlooked for grace shown to me," &c. As the date of its composition is thus December, 1641, or at latest Jan. 1642, it is certainly strange that it was not published in his Lustwäldchen, Hamburg, 1652. In that volume he does give, at p. 32, a piece entitled, "a hymn of consolation, when, in 1646, through a dreadful fire I came to my last farthing." The apocryphal story, according to which the hymn was written at Hamburg, about 1653 (see Miller's Singers and Songs, 1869, p. 91), has not been traced earlier than 1744. The hymn speedily became popular, and passed into hymn-books all over Germany (Leipzig Vorrath, 1673, No. 1169), and still holds its place as in the Berlin Geistliche Lieder, ed. 1863, No. 73. Lauxmann, in Koch, viii. 386-390, relates that it was the favourite hymn of Magdalena Sibylla (d. 1687), wife of the Elector Johann Georg II. of Saxony; was sung, by his command, at the funeral, in 1740, of King Friedrich Wilhelm I. of Prussia; was sung, or rather played, by the first band of missionaries from Herrmannsburg as they set sail from Brunshausen on the Elbe (near Stade) on Oct. 28, 1853, &c. The beautiful melody by Neumark was probably composed in 1641 along with the hymn, and was published with it in 1657. On it J. S. Bach composed a cantata. It is well known in England through its use by Mendelssohn in his St. Paul ("To Thee, 0 Lord, I yield my spirit"), and from its introduction into Hymns Ancient & Modern (as Bremen), and many other collections. Translations in common use:-- 1. Who leaves th' Almighty God to reign. A full but free translation by Sir John Bowring in his Hymns, 1825, No. 58. His translations of stanzas ii., iv.-vi. beginning "How vain are sighs! how vain regret," are included in Curtis's Union Collection, 1827. 2. Who all his will to God resigneth. A good and full translation by A. T. Kussell, as No. 236 in his Psalms & Hymns, 1851. His translations of st. v.-vii. beginning "Say not, I am of God forsaken," are in Dr. Pagenstecher's Collection, 1864. 3. Leave God to order all thy ways. A full and good translation by Miss Winkworth, in her Lyra Germanica, 1st Ser. 1855, p. 152. This is given in full in M. W. Stryker's Christian Chorals, 1885, and, omitting st. vi., in W. F. Stevenson's Hymns for Church and Home, 1873, and the Baptist Hymnal, 1879. Further abridged forms are in the Baptist Psalms & Hymns, 1858; Harrow School Hymn Book, l866; Holy Song, 1869, and others. In the Pennsylvania Lutheran Church Book, 1868; and the American Presbyterian Hymnal, 1874, st. v., vi. are omitted, and the rest altered to 6 stanzas, beginning "My God, I leave to Thee my ways." 4. Him who the blessed God trusts ever. A good and full translation by Dr.John Ker in the Juvenile Missionary Magazine, of the United Presbyterian Church, 1857. It was revised, and st. iii., v., vi. omitted, for the Ibrox Hymnal, 1871, where it begins: "He who,” &c. 5. If thou but suffer God to guide thee. A full and good translation by Miss Winkworth (based on her Lyra Germanica version and set to the original melody), as No. 134 in her Chorale Book for England, 1863. Repeated in full in the Baptist Psalmist, 1878, and in America in the Ohio Lutheran Hymnal, 1880. It is found, in various abridged forms, in J. Robinson's Collection, 1869; Horder's Congregational Hymns , 1884; the Evangelical Hymnal, N. Y., 1880, and others. 6. He, who the living God hath chosen. A translation of st. i., ii., vii. by Miss Borthwick, as No. 237 in Dr. Pagenstecher's Collection, 1864. 7. He who doth glad submission render. A good translation omitting st. vi., by J. M. Sloan, as No. 284 in J. H. Wilson's Service of Praise, 1865, repeated, omitting the translations of st. ii., vii., in Flett's Collection, Paisley, 1871. Other translations are:— (1) "He that confides in his Creator." By J. C. Jacobi, 1720, p. 13 (1722, p. 36; 1732, p. 61). Repeated in the Moravian Hymn Book, 1754, and later eds. (1886, No. 183). (2) "0 Christian! let the Lord direct." By Miss Knight in her Trs. from the German in Prose and Verse, 1812, p. 85. (3) "To let God rule who's but contented." By H. W. Dulcken in his Book of German Song, 1856, p. 274. (4) "He who the rule to God hath yielded." By J. D. Burns in the Family Treasury, 1859, p. 309, and his Memoir & Remains, 1869, p. 240. (5) "Who trusts in God's all-wise direction." By R. Massie, in the British Herald, Aug. 1865, p. 120, and Reid's Praise Book, 1872. (6) "Who yields his will to God's good pleasure. In the British Herald, April, 1866, p. 244, and in Reid's Praise Book, 1872. (7) "He who commits his way to God." In the Family Treasury, 1878, p. 49. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907) See also in: Hymn Writers of the Church

Joseph Barnby

1838 - 1896 Scripture: 2 Corinthians 4:6 Composer of "SARUM" in Great Songs of the Church (Revised) Joseph Barnby (b. York, England, 1838; d. London, England, 1896) An accomplished and popular choral director in England, Barby showed his musical genius early: he was an organist and choirmaster at the age of twelve. He became organist at St. Andrews, Wells Street, London, where he developed an outstanding choral program (at times nicknamed "the Sunday Opera"). Barnby introduced annual performances of J. S. Bach's St. John Passion in St. Anne's, Soho, and directed the first performance in an English church of the St. Matthew Passion. He was also active in regional music festivals, conducted the Royal Choral Society, and composed and edited music (mainly for Novello and Company). In 1892 he was knighted by Queen Victoria. His compositions include many anthems and service music for the Anglican liturgy, as well as 246 hymn tunes (published posthumously in 1897). He edited four hymnals, including The Hymnary (1872) and The Congregational Sunday School Hymnal (1891), and coedited The Cathedral Psalter (1873). Bert Polman

Anne S. Murphy

1877 - 1942 Scripture: 2 Corinthians 4:7 Author of "Constantly Abiding" in Hymns of Faith

Philip Doddridge

1702 - 1751 Person Name: Dr. Doddridge Scripture: 2 Corinthians 4:6 Author of "God shining into the heart" in A Selection of Hymns Philip Doddridge (b. London, England, 1702; d. Lisbon, Portugal, 1751) belonged to the Non-conformist Church (not associated with the Church of England). Its members were frequently the focus of discrimination. Offered an education by a rich patron to prepare him for ordination in the Church of England, Doddridge chose instead to remain in the Non-conformist Church. For twenty years he pastored a poor parish in Northampton, where he opened an academy for training Non-conformist ministers and taught most of the subjects himself. Doddridge suffered from tuberculosis, and when Lady Huntington, one of his patrons, offered to finance a trip to Lisbon for his health, he is reputed to have said, "I can as well go to heaven from Lisbon as from Northampton." He died in Lisbon soon after his arrival. Doddridge wrote some four hundred hymn texts, generally to accompany his sermons. These hymns were published posthumously in Hymns, Founded on Various Texts in the Holy Scriptures (1755); relatively few are still sung today. Bert Polman ======================== Doddridge, Philip, D.D., was born in London, June 26, 1702. His grandfather was one of the ministers under the Commonwealth, who were ejected in 1662. His father was a London oilman. He was offered by the Duchess of Bedford an University training for ordination in the Church of England, but declined it. He entered Mr. Jennings's non-conformist seminary at Kibworth instead; preached his first sermon at Hinckley, to which Mr. Jennings had removed his academy. In 1723 he was chosen pastor at Kibworth. In 1725 he changed his residence to Market Harborough, still ministering at Kibworth. The settled work of his life as a preceptor and divine began in 1729, with his appointment to the Castle Hill Meeting at Northampton, and continued till in the last stage of consumption. He sailed to Lisbon, in 1751, where he died October 26, the same year. Two hundred pupils in all, gathered from England, Scotland and Holland, were prepared in his seminary, chiefly for the dissenting ministry, but partly for professions. The wide range of subjects, including daily readings in Hebrew and Greek, Algebra, Trigonometry, Watts' Logic, outline of Philosophy, and copious Divinity, is itself a proof of Doddridge's learning. He was presented with his D.D. degree by the University of Aberdeen. His fame as a divine, combined with his wide sympathies and gentle, unaffected goodness, won for him the friendship of Watts, Col. Gardiner and Hervey, and the esteem of Seeker and Warburton. He welcomed the work of Wesley and Whitefield, and entertained the latter on his visit to Northampton. His Rise and Progress of Religion in the Soul and The Family Expositor both did good work in their day. For criticism of his hymns see English Hymnody, Early, § XIV. [Rev. H. Leigh Bennett, M.A.] After Dr. Doddridge's death his hymns were published by his friend Job Orton, in 1755, as:— "Hymns founded on Various Texts in the Holy Scriptures. By the late Reverend Philip Doddridge, D.D. Published from the Author's Manuscript by Job Orton . . . Salop. Printed by J. Eddowes and J. Cotton, &c. MDCCLV." Concerning the text of the hymns, Orton says in his Preface:— "There may perhaps be some improprieties, owing to my not being able to read the author's manuscript in particular places, and being obliged, without a poetical genius, to supply those deficiencies, whereby the beauty of the stanza may be greatly defaced, though the sense is preserved." The 1st edition contained 370 hymns; the 2nd, 1759, 374; and the 3rd, 1766, and later editions, 375. In 1839 Doddridge's great-grandson re-edited the hymns from the original manuscript and published the same as:— Scriptural Hymns by the Rev. Philip Doddridge, D.D. New and corrected edition containing many hymns never before printed. Edited from the Original Documents by the Author's great-grandson, John Doddridge Humphreys, Esq. Lond. Darton & Clark, 1839. This work contains 22 additional hymns. The text differs in many instances from Orton's, but these changes have not come into common use. In addition to the manuscript used by Orton and J. D. Humphreys, another containing 100 hymns (five of which are not in any edition of the Hymns), all in the author's handwriting, and most of them dated, is referred to in this Dictionary as the "D. Manuscripts." It is the property of Mr. W. S. Booker and family. A manuscript, not in Doddridge's handwriting, of 77 "Hymns by P. Doddridge, Mar. 16, 1739/1740," is in the possession of Mr. W. T. Brooke. The existence of these manuscripts is accounted for from the fact that Doddridge's hymns were freely circulated in manuscript during his lifetime. It is from his correspondence with R. Blair (q.v.) that the few compositions traceable to him in the Scottish Trans. & Paraphrases were derived. The hymns by Doddridge which have attained to the greatest popularity are:— “Awake, my soul, stretch every nerve"; " Do not I love Thee, O my Lord? " "Grace 'tis a charming sound”; " Hark, the glad sound, the Saviour comes"; "My God, and is Thy table spread?" "O happy day, that fixed my choice"; "O God of Jacob [Bethel], by Whose hand”; " See Israel's gentle Shepherd stand"; "Ye servants of the Lord." These hymns, with many besides, are annotated under their respective first lines. Of the rest, taken from the Hymns, &c, 1755, the following are also in common use:— 1. Behold the gloomy vale. Death anticipated. 2. Behold the Great Physician stands. Christ the Physician. 3. Captives of Israel, hear. Spiritual Deliverance. 4. Eternal God, our wondering souls. Enoch's Piety and Translation. 5. Eternal Source of life and thought. Subjection to the Father. G. Exalted Prince of Life, we own. Christ the Prince and Saviour. 7. Father Divine, the Saviour cried. Christ's Submission to the Father. 8. Father Divine, Thy piercing eye. Secret Prayer. 9. Father of mercies, send Thy grace. Sympathy. The Good Samaritan. 10. Go, saith the Lord, proclaim my grace. Forgiveness. 11. God of Eternity, from Thee. Redeeming the Time. 12. God of my life, through all its [my] days. Praising God continually. 13. God. of salvation, we adore. Praise to God for Redemption. 14. Great Father of mankind. Gentiles brought into the Church. 15. Great God, we sing that mighty hand. The New Tear. 16. Great Leader of Thine Israel's host. During Persecution. 17. Great Lord of angels, we adore. Ordination. 18. Great Spirit of immortal love. Purity of Heart desired. 19. Great Teacher of Thy Church, we own. The Divine Precepts. 20. Hail, everlasting Prince of Peace. Sympathy. 21. Hail to the Prince of life and peace. Praise to Christ. 22. Hear, gracious [Saviour] Sovereign, from Thy throne. The Blessings of the Holy Spirit desired. 23. How gentle God's commands. God's Care of His Own. 24. How rich Thy favours, God of grace. God and His Living Temple. 25. How swift the torrent flows [rolls]. Our Fathers, where are they? 26. Jesus the Lord, our souls adore. Christ the Forerunner. 27. Jesus, we own Thy Sovereign hand. Christ to be fully known hereafter. 28. Loud let the tuneful trumpet sound. Gospel Jubilee. 29. My gracious Lord, I own Thy right. Life in Jesus. 30. My [Dear] Saviour, I am [we are] Thine. Joined to Christ through the Spirit. 31. My soul, with all thy waking powers. The Choice of Moses. 32. Now let our voices join. Singing in the ways of God. 33. 0 injured Majesty of heaven. Lent. 34. 0 Zion, tune thy voice. Glory of the Church of Christ. 35. Peace, 'tis the Lord Jehovah's hand. Resignation. 36. Praise the Lord of boundless might. The Father of Lights. 37. Praise to Thy Name, Eternal God. Growth in Grace desired. 38. Remark, my soul, the narrow bounds. The New Year. 39. Repent, the Voice celestial cries. Lent. 40. Return, my roving heart, return. Heart communing. 41. Salvation, O melodious sound. God our Salvation. 42. Saviour of men, and Lord of love. Ministry and Death of Christ. 43. Searcher of hearts, before Thy face. Peter to Simon Magus. 44. Shepherd of Israel, Thou dost keep. Induction or Settlement of a Minister. 45. Shine forth, eternal Source of light. Knowledge of God desired. 46. Shine on our souls, eternal God. Sunday. 47. Sing, ye redeemed of the Lord. Joy on the Homeward Way. 48. Sovereign of life, before Thine eye. Life and Death in God's hands. 49. The darkened sky, how thick it lours. Sorrow followed by Joy. 50. The day approacheth, O my soul. Judgment anticipated. 51. The King of heaven His table spreads. The Gospel Feast. 52. The promises I sing. The unchanging promises of God. 53. The swift-declining day. Walk in the Light. 54. These mortal joys, how soon they fade. Treasures, Perishable and Eternal. 55. Thy judgments cry aloud. Retributive Providence. 56. Thy presence, Everlasting God. Omnipresence of the Father. 57. 'Tis mine, the covenant of His grace. Death anticipated. 58. To Thee, my God; my days are known. Life under the eye of God. 59. Tomorrow, Lord, is Thine. Uncertainty of Life. 60. Triumphant Lord, Thy goodness reigns. The Divine Goodness. 61. Triumphant Zion, lift thy head. The Church Purified and Guarded. 62. Unite my roving thoughts, unite. Peace. 63. What mysteries, Lord, in Thee combine. Christ, the First and Last. 64. While on the verge of life I stand. Death anticipated with Joy. 65. With ecstacy of Joy. Christ the Living Stone. 66. Ye golden lamps of heaven, farewell. Heaven opening. 67. Ye hearts with youthful vigour warm. The Young encouraged. 68. Ye humble souls, that seek the Lord. Easter. 69. Ye sons of men, with joy record. Praise of the Works of God. 70. Yes, the Redeemer rose. Easter In Dr. Hatfield's Church HymnBook, N. Y., 1872, Nos. 9, 12, 14, 15, 21, 23, 25, 29, 30, 32, 34, 35, 39, 40, 44, 47, 51, 61, 64, 65, 67, 69, 70, as above, are dated 1740. What authority there may be for this date we cannot say, these hymns not being in any “D. MSS." with which we are acquainted, and no dates are given in the Hymns, &c, 1755. Some later American editors have copied this date from Dr. Hatfield. Doddridge's hymns are largely used by Unitarians both in Great Britain and America. As might be expected, the Congregationalists also draw freely from his stores. The Baptists come next. In the hymnals of the Church of England the choicest, only are in use. Taken together, over one-third of his hymns are in common usage at the present time. -- John Julian, Dictionary of Hymnology (1907) ================ Doddridge, Philip, D.D. At p. 305 an account is given of a manuscript volume of Doddridge's Hymns, which is the property of the Rooker family. Since that article was written another manuscript vol. has been found. It was the property of Lady Frances Gardiner, née Erskine, an intimate friend of Doddridge, and wife of Col. Gardiner. It is a copy of the Rooker manuscipt, with the revised text, as in the margin of that ms., and is in Doddridge's hand¬writing. It was from this manuscript that the Doddridge hymns were taken for the Scottish Translationsand Paraphrases, 1745. Additional hymns by Dr. Doddridge still in common use include:— 1. My God, how cheerful is the sound. All in Christ. 2. My Saviour, let me hear Thy voice. Pardon desired. 3. My soul, triumphant in the Lord. Divine Guidance assured. 4. No «iore, ye wise, your wisdom boast. Glorying in God alone. From Hymns, No. 128. 5. Now be that Sacrifice survey'd. Christ our Sacrifice. 6. 0 Israel, blest beyond compare. Happiness of God's Israel. 7. Our fathers, where are they? Considering the Past. From Hymns, No. 164. 8. Praise to the Lord on high. Missions. 9. Praise to the radiant Source of bliss. Praise for Divine Guidance. 10. Return, my soul, and seek thy rest. Rest in Jesus. 11. Salvation doth to God belong. National Thanksgiving. 12. Sovereign of Life, I own Thy hand. On Recovery from Sickness. 13. The sepulchres, how thick they stand. Burial. 14. There is a Shepherd kind and strong. The Good Shepherd. From Hymns, No. 216. 15. Wait on the Lord, ye heirs of hope. Waiting on God. 16. We bless the eternal Source of light. Christ's care of the Church. 17. With transport, Lord, our souls proclaim. Immutability of Christ. 18. Ye mourning saints, whose streaming tears. Death and Burial. These all appeared in Dr. Doddridge's Hymns, 1755. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)